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VENICE BIENNALE DIARY MAY 15

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As agreed, we perform for one hour in order to enter a meditative zone. I wear a blindfold to help focus on the soundscape and movements and I work on paintings which are on the pavement and also hung along the wall opposite the gallery, where Paul is set up on a table with his equipment.

May 18th Scorpio Full Moon -Cosmic Imprint

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The karmic destiny indicates that the feminine needs to be acknowledged and established as a vital source of wisdom in our societal discourse. Inherently, the Cosmos tells us we need to tune to the planetary awareness of the Great Mother Earth, and the womanly nurturing, compassion and creative juno (juno is the feminine version of the Roman genius).

VENICE BIENNALE DIARY MAY 14

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Although it took Paul Morgan a great deal of time to assemble, the synth is built for an improvised performance with very little post-production, he will conjure a soundscape in conversation with my live-drawing performance, essentially using me as a proxy painter to draw the sounds.

Venice Biennale Diary May 13

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There is no indication who the sign is directed towards but I wonder whether it might be collected to John Pilger’s recent article titled The War on Venezuela is Built on Lies (Feb 21, 2019) or the same line of thought. This year’s Venezuela Pavilion is organized by curator Oscar Sotillo, the founder of left-wing cultural journal La Mancha.

Venice Biennale Diary May 12

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Jantsankhorol works are huge textured black or cream sculptures with red light emitting from inside or behind them. They remind me of primitive life forms or otherwise futuristic – worms or possibly plants. They have a disturbing feel to them as they take over space – hanging from the ceiling of one room rendering it impossible to enter. It is an immersive installation that activates feelings for me, rather than thoughts.